{"id":29275,"date":"2012-05-16T10:28:51","date_gmt":"2012-05-16T14:28:51","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=29275"},"modified":"2012-05-16T10:28:51","modified_gmt":"2012-05-16T14:28:51","slug":"frye-metaphor-and-andre-breton","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/05\/16\/frye-metaphor-and-andre-breton\/","title":{"rendered":"Frye, Metaphor, and Andr\u00e9 Breton"},"content":{"rendered":"<p><a href=\"http:\/\/fryeblog.blog.lib.mcmaster.ca\/2012\/05\/16\/frye-metaphor-and-andre-breton\/breton\/\" rel=\"attachment wp-att-29280\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-29280\" src=\"http:\/\/macblog.mcmaster.ca\/fryeblog\/wp-content\/uploads\/sites\/4\/2012\/05\/Breton.jpg\" alt=\"\" width=\"200\" height=\"275\" \/><\/a><\/p>\n<p>If there is a centre or core to Frye\u2019s theory of literature, it is metaphor. One could argue that myth is just as central. No doubt. But myth itself is the unfolding of a\u00a0 metaphoric structure of imagery.\u00a0 A myth is the story of a god, and a god is a metaphoric union of a human form, a divine personality, with Nature.<\/p>\n<p>In my teaching I often turn to two passages from <em>Anatomy<\/em> on the \u201cradical form of metaphor.\u201d The first is from the second essay on levels of meaning, which concludes with a discussion of\u00a0 different modes of metaphor:<\/p>\n<blockquote><p>In the anagogic aspect of meaning, the radical form of metaphor,\u00a0 &#8220;A is B,&#8221; comes into its own. Here we are dealing with poetry in its totality, in which the formula &#8220;A is B&#8221; may be hypothetically applied to anything, for there is no metaphor, not even &#8220;black is\u00a0 white,&#8221; which a reader has any right to quarrel with in advance. The literary universe, therefore, is a universe in which everything\u00a0 is potentially identical with everything else. This does not mean that any two things in it are separate and very similar, like peas in a pod, or in the slangy and erroneous sense of the word in which we speak of identical twins. If twins were really identical they would be the same person. On the other hand, a grown man feels identical with himself at the age of seven, although the two manifestations of this identity, the man and the boy, have very little in common as regards similarity or likeness. In form, matter, personality, time, and space, man and boy are quite unlike. This is the only type of image I can think of that illustrates the process of identifying two independent forms. All poetry, then, proceeds as though all poetic images were contained within a single universal body. Identity is the opposite of similarity or likeness, and total identity is not uniformity, still less monotony, but a unity of various things.\u00a0 (124-25)<\/p><\/blockquote>\n<p>The second definition is from Frye\u2019s discussion of the rhythm of association that characterizes lyric:<\/p>\n<blockquote><p>The fusion of the concrete and abstract is a special case, though a very important one, of a general principle that the technical development of the last century has exposed to critical view. All poetic imagery seems to be founded on metaphor, but in the lyric, where the associative process is strongest and the ready-made descriptive phrases of ordinary prose furthest away, the unexpected or violent metaphor that is called catachresis has a peculiar importance. Much more frequently than any other genre does the lyric depend for its main effect on the fresh or surprising image, a fact which often gives rise to the illusion that such imagery is radically new or unconventional. From Nashe&#8217;s &#8220;Brightness falls from the air&#8221; to Dylan Thomas&#8217;s &#8220;A grief ago\/&#8217; the emotional crux of the lyric has over and over again tended to be this &#8220;sudden glory&#8221; of fused metaphor. (281)<\/p><\/blockquote>\n<p>One thinks of Pierre Reverdy\u2019s definition of the poetic image, cited by Andr\u00e9 Breton in the first surrealist manifesto:<\/p>\n<blockquote><p>The image is a pure creation of the mind. It cannot be born from a comparison but from a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be &#8212; the greater its emotional power and poetic reality&#8230; [Pierre Reverdy, Nord-Sud, March 1918]<\/p><\/blockquote>\n<p>A related idea, another touchstone for Breton, is Lautr\u00e9amont\u2019s famous image &#8220;beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella.&#8221;<\/p>\n<p>Breton\u2019s great love poem \u201cUnion Libre\u201d (1931) is one of the most striking examples of such catachrestic fusion. \u201cUnion Libre\u201d is the French term for common-law marriage, a sexual union outside the law. What better title could there be for a poem whose radical uniting of disparate realities obeys no normative censor of any kind, and whose subject is both a delirious sexual union and the delirium of verbal fusion in which, as Breton puts it elsewhere, \u201cthe words make love.\u201d<\/p>\n<p>The poem is loosely based on the Renaissance blazon, in which the poet praises\u00a0 the beauty of his mistress by enumerating the various attractions of her body.\u00a0 The breathtaking sequence of bewildering but exhilarating images, in an exuberant parody of the Song of Songs, is\u00a0 erotically charged while evoking at the same time a union of the bride (\u201cma femme,\u201d my wife or woman) with Nature and a world of the most diverse particulars.\u00a0 The epithetic structure of each image allows for a violent yoking of remotely related but surprisingly fitting realities.<\/p>\n<p>Such a &#8220;free union&#8221; of images brings to mind Bakhtin&#8217;s observations about the use of the blason in <em>Rabelais and His World<\/em> (425-430), and in the section on \u201cThe Rabelaisian Chronotope\u201d in the essay \u201cForms of Time and Chronotope in the Novel\u201d (<em>The Dialogic Imagination<\/em>, 167-206), Bakhtin analyzes\u00a0 the ways in which a grotesque fusion of images decreates and recreates the verbally organized conception of the world. Bakhtin&#8217;s understanding of poetic and literary imagery, particularly in its relation to the matrix of objects and phenomena (food, drink, copulation, birth and death) is is, in fact, very close to Frye\u2019s, where such images are an outgrowth of the primary concerns of food, sex, freedom, and property.<\/p>\n<p>Here is Breton\u2019s extraordinary poem. I have consulted a number of versions in English, but the translation is my own:<\/p>\n<p><em>Free Union<\/em><\/p>\n<p>My wife of the wood fire hair<br \/>\nOf heat lightning thoughts<br \/>\nOf the hourglass waist<br \/>\nMy wife of the waist of an otter in a tiger\u2019s jaws<br \/>\nMy wife of the mouth of cockade and a bouquet of stars of the latest magnitude<br \/>\nOf teeth like the tracks of white mice over the white earth<br \/>\nOf the tongue of rubbed amber and glass<br \/>\nMy wife of the tongue of a stabbed wafer<br \/>\nOf the tongue of a doll which opens and closes its eyes<br \/>\nOf the tongue of fabulous stone<br \/>\nMy wife of eyelashes in the vertical lines of a child&#8217;s handwriting<br \/>\nOf eyebrows like the edge of a bird&#8217;s nest<br \/>\nMy wife of temples like the slate of a glasshouse roof<br \/>\nAnd the steam of breath on the windowpanes<br \/>\nMy wife of the champagne shoulders<br \/>\nOf the shoulders of a fountain with dolphin heads under ice<br \/>\nMy wife of the wrists of matches<br \/>\nMy wife of fingers of luck and the ace of hearts<br \/>\nOf fingers of new-moan hay<br \/>\nMy wife of armpits of marten and beechnuts<br \/>\nOf Midsummer Night<br \/>\nOf armpits of camphor and a nest of angel fish<br \/>\nOf arms of sea foam and a sluice-gate<br \/>\nAnd a blend of wheat and mill<br \/>\nMy wife of the rocket legs<br \/>\nOf legs of clockwork and movements of despair<br \/>\nMy wife of calves of elder marrow<br \/>\nMy wife of the feet of initials<br \/>\nOf the feet of a bunch of keys<br \/>\nOf the feet of tippling caulkers<br \/>\nMy wife of the neck of pearl barley<br \/>\nMy wife of the throat of Val d&#8217;Or<br \/>\nOf the throat of a rendezvous in the very bed of the torrent<br \/>\nOf breasts of night<br \/>\nMy wife of breasts of marine molehill<br \/>\nMy wife of the breasts of crucible of ruby<br \/>\nOf breasts of the spectral rose beneath the dew<br \/>\nMy wife of the unfolding belly of the fan of days<br \/>\nOf the belly of a giant claw<br \/>\nMy wife of a bird&#8217;s back in vertical flight<br \/>\nOf the quicksilver back<br \/>\nOf the back of light<br \/>\nOf the nape of rolled stone and moistened chalk<br \/>\nOf the fall of a glass which has just been emptied<br \/>\nMy wife of the hips of a skiff<br \/>\nOf hips of chandelier and arrow feathers<br \/>\nAnd stems of white peacock quills<br \/>\nOf imperceptible balance<br \/>\nMy wife of the rump of stoneware and asbestos<br \/>\nMy wife of the rump of a swan&#8217;s back<br \/>\nMy wife of the rump of springtime<br \/>\nOf the sex of a gladiola<br \/>\nMy wife of the sex of a gold-mine and platypus<br \/>\nMy wife of the sex of seaweed and yesteryear\u2019s\u00a0 candies<br \/>\nMy wife of the sex of a mirror<br \/>\nMy wife of eyes full of tears<br \/>\nOf eyes of violet panoply and magnetized needle<br \/>\nMy wife of the savanna eyes<br \/>\nMy wife of eyes of water that quenches thirst in prison<br \/>\nMy wife of the eyes of wood eternally under the axe<br \/>\nOf water level eyes<br \/>\nOf eyes at the level of air and earth<br \/>\nOf eyes at the level of fire<\/p>\n","protected":false},"excerpt":{"rendered":"<p>If there is a centre or core to Frye\u2019s theory of literature, it is metaphor. One could argue that myth is just as central. No doubt. But myth itself is the unfolding of a\u00a0 metaphoric structure of imagery.\u00a0 A myth is the story of a god, and a god is a metaphoric union of a [&hellip;]<\/p>\n","protected":false},"author":19,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"class_list":["post-29275","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Frye, Metaphor, and Andr\u00e9 Breton - The Educated Imagination<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/05\/16\/frye-metaphor-and-andre-breton\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frye, Metaphor, and Andr\u00e9 Breton - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"If there is a centre or core to Frye\u2019s theory of literature, it is metaphor. 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